Let’s set the scene, circa the late 1940s, a typical American home, Anytown, U.S.A.: the family gathers around the glowing, humming appliance, eagerly anticipating the entertainment about to be broadcast. A holiday treat, It’s a Wonderful Life, is the next program, and everyone settles in for a heartwarming story.
This might have been the scenario in millions of homes back in 1949, during the days of the Golden Age of Radio, the time before streaming services, smartphones, big LED screens — heck, this was before television took over the central spot in living rooms across the globe. If you have parents or grandparents of a certain vintage, perhaps they talked about getting home from school, finishing dinner and homework, and then sitting to listen to Bob Hope, Edgar Bergen and Charlie McCarthy, or the countless other radio stars from the era. And the radio dramas — original, spooky, mysterious, or just entertaining.
This is the world Prince William Little Theatre successfully evokes with their engaging and lively production of It’s a Wonderful Life: A Live Radio Play, now playing through December 21, just in time to bring back those halcyon radio days. Of course, the tale is perfect for the Christmas season, following the same plot and characters from the Frank Capra film starring Jimmy Stewart, which is now right up there with Dickens’ A Christmas Carol as a seasonal staple.
Instead of the home experience, we are taken to New York City radio station WBFR for “Playhouse of the Air,” similar to many radio drama anthologies of the day, adapting popular classics and films into theater of the mind. Director and set designer Bob Thompson had a master’s touch creating the proper setting for the radio troupe to bring George and Mary Bailey and company to life. With holiday bunting, complete with tinsel, a fully decorated Christmas tree, and all the accouterments of a vintage radio station, including the foley desk for sound effects, the live audience in the theater is in for a delightful journey.
The actors understood their assignments as well, adopting the 1940s style, assisted by Jill Jago’s period-perfect suits and outfits and Sue Pinkman and the Cast’s precise hair and make-up designs. The five radio actors, along with the foley artist and the accompanist/intern, make up the entire array of characters that we know and love from the 1946 film: Uncle Billy, Violet, Sam Wainwright, Mr. Gower, Clarence Oddbody, the angel to be, and, of course, Zuzu — to name just a few.
Artfully, using the conceit of WBFR’s very own radio troupe as the cast, the PWLT actors get to play several layers of characters, even in subtle ways, which is fun to watch. The harried stage manager, played with comic intensity by Emily LaCroix, keeps the actors on their toes with time calls and her countdown to airtime. She keeps a steady eye on the pompous announcer Freddie, played with relish by Colin Patton, who is clearly full of himself as one of the station’s stars. Daniel Ferguson plays leading man Jake Laurents, judging from the introductions with the other radio actors, appears to be a guest artist, hired to portray George Bailey, in the upcoming radio play. (More on Ferguson’s performance, in which he has the charm and ease of Mr. Stewart himself, later.) Playing the leading role of Mary Hatch (later Bailey) is Sally Applewhite, the perfect name for a girl next door. Applewhite and Mary are brought to life with sunny optimism by Maria Brock.
As all-around character man Harry “Jazzbo” Heywood, complete with the perfect 1940s accent in his dialogue, Noah Nicoletti has fun playing all his characters. Contrasting the town vixen Violet and the wizened old Mrs. Bailey, radio actress Lana Sherwood, with stylish blonde hair, is period-perfect thanks to Charlene Sloan’s performance.
Once announcer Freddie kicks off the “Playhouse of the Air” broadcast, the small company of actors brings the classic film to life with lightning-fast changes in voices, postures, and movement around the five vintage-style microphones. LaCroix masterfully makes the whirs, clinks, slams, bangs, and boinks work thanks to manipulating all the tools and equipment at her foley station, sometimes aided by the helpful Haily Hubbard as the intern and pianist.
At the heart of the radio edition of It’s a Wonderful Life, adapted for the stage by Joe Landry, is the central performance of Ferguson as George. Ferguson makes the role his own, never stooping to imitation, but allowing the character to grow from his own persona, from an idealistic young man to the bitter and frustrated man on the verge of a breakdown. When Clarence the angel apprentice enters his life — one of Nicoletti’s crowning achievements among his characters — we see the desperation grow to the stunning conclusion of redemption and reconciliation with his family and himself.
The live radio presentation would not be complete without some musical interludes and the on-air commercials, two additional highlights of the production.
PWLT has put nostalgia under our tree for the holidays, and it is a welcome gift to reopen the story of George, Mary, and Clarence, a perfect escape into the warmth of the season.
Running Time: Approximately two hours with one 15-minute intermission.
It’s a Wonderful Life: A Live Radio Play plays through December 21, 2025, presented by Prince William Little Theatre, performing at the Gregory Family Theater, Hylton Performing Arts Center, 10960 George Mason Cir, Manassas, VA. Patrons may purchase tickets online in advance: $30 adult; $25 senior, student, youth (12 and under), and military (active). Prices include fees.
It’s a Wonderful Life: A Live Radio Play
By Joe Landry, adapted from the 1946 film
Directed by Bob Thompson
Assistant Director: Dominic DiCaprio
Stage Manager: Nataly Foley
Sound design: Wil Taft
Costume Design: Jill Jago
Lighting Design: Andrew Harasty
Hair and Make-up Design: Sue Pinkman and the Cast
Set Design: Bob Thompson
